कहा जाता है कि यदि दो डॉक्यूमेंट्री फिल्मकार मिलते हैं तो वे दुनिया के बारे में बात करते हैं, यदि दो फिक्शन फिल्मकार मिलते हैं तो वे उस दस लाख की बात करते हैं जो उनके पास फिल्म बनाने के लिए नहीं है।
It's said that if two documentary filmmakers meet they talk about the world, if two fiction filmmakers meet they talk about the million that they don't have to make their film.
It's said that if two documentary filmmakers meet they talk about the world, if two fiction filmmakers meet they talk about the million that they don't have to make their film.
मुझे नहीं लगता कि "एक्टर्स से निर्देशन करवाने" जैसी कोई अवधारणा इस अर्थ में मौजूद है कि यदि आपको किसी अभिनेता से वही मिल जाता है जो आपने चाहा था, तो आपको हमेशा खराब अभिनय ही मिलेगा। हर अभिनेता एक आम इंसान की तरह डरा हुआ होता है।
I don't think the concept of "directing actors" exists in the sense that if you get what you order from an actor you'll always get bad acting. Every actor is scared just like a regular person.
I don't think the concept of "directing actors" exists in the sense that if you get what you order from an actor you'll always get bad acting. Every actor is scared just like a regular person.
हर डॉक्यूमेंट्री व्यक्तिपरक होती है। यह कहना पूरी तरह से झूठ है कि वस्तुनिष्ठ (निष्पक्ष) डॉक्यूमेंट्री जैसी कोई चीज़ होती है।
Every documentary is subjective. It's a total lie to say there are objective documentaries.
Every documentary is subjective. It's a total lie to say there are objective documentaries.
मुझे लगता है कि हम फिल्म निर्देशक अक्सर यह मान लेते हैं कि एक बड़ी महाकाव्य जैसी उपन्यास और फीचर फिल्म एक ही चीज़ हैं। यह एक झूठ है। फीचर फिल्म दरअसल एक छोटी कहानी के बहुत करीब होती है।
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
13 साल की उम्र में मेरा अपना कोई व्यक्तित्व नहीं था। इंसान की जिंदगी का यह एक बहुत ही दिलचस्प दौर होता है। यह बेहद रोमांचक है क्योंकि आप बचपन और जवानी के बीच में होते हैं।
At 13 I was someone that didn't have a personality yet. It's a fascinating period in a human life. It's so exciting because you are in between childhood and adulthood.
At 13 I was someone that didn't have a personality yet. It's a fascinating period in a human life. It's so exciting because you are in between childhood and adulthood.
मुझे कुछ ऐसा हासिल करना पसंद है जिसे शब्दों में मांगना असंभव हो। कभी-कभी यह ऐसी चीज़ होती है जिसके बारे में सामने वाला व्यक्ति सचेत भी नहीं होता, और यह कुछ ऐसा है जिसे आप कभी भी उनसे विशेष रूप से नहीं मांग सकते। यह बस वहाँ मौजूद होता है।
I like to get something that is impossible to verbally order. Sometimes it's something the person is not even conscious of, and it's something you could never ask of them specifically. It's just there.
I like to get something that is impossible to verbally order. Sometimes it's something the person is not even conscious of, and it's something you could never ask of them specifically. It's just there.
फिल्म पूरी होने के बाद आप उसे दर्शकों को सौंप देते हैं। प्रीमियर के बाद मैं कभी अपनी फिल्में नहीं देखता। फिल्म को अपना खुद का इतिहास खुद शुरू करना होता है।
You give your film away to the audience once it's done. I never look at my films after the premier. The film needs to start its own history.
You give your film away to the audience once it's done. I never look at my films after the premier. The film needs to start its own history.
एक महिला निर्देशक होने के नाते अपने पुरुष सहकर्मियों जितने ही पेशेवर बन जाइए और महिला होने के सवाल को पूरी तरह भूल जाइए। आप वैसे भी महिला हैं और यह आपके पक्ष में काम करेगा। महिला की पेशेवर श्रेष्ठता के दायरे को इतने कम पुरुष समझ पाते हैं कि ज्यादातर लोग इसे महसूस ही नहीं करते।
Being a female director become as professional as your male colleagues and forget the whole question about being female. You are female anyway and it is going to work in your favor. The scope of female professional superiority can be understood by so few men that mostly they do not miss it.
Being a female director become as professional as your male colleagues and forget the whole question about being female. You are female anyway and it is going to work in your favor. The scope of female professional superiority can be understood by so few men that mostly they do not miss it.
एक बात ऐसी है जिसमें लोग हमेशा सही होते हैं। वह तब होती है जब वे अपनी फिल्म देखते समय महसूस किए गए अनुभवों का वर्णन कर रहे होते हैं। आप यह नहीं कह सकते कि: नहीं, आपने ऐसा महसूस नहीं किया था!
There is one thing where people are always right. It is when they are describing what they have been feeling when watching your film. You cannot say: No, you did not feel like that!
There is one thing where people are always right. It is when they are describing what they have been feeling when watching your film. You cannot say: No, you did not feel like that!
मैं 13 साल की उम्र में इंग्लैंड गया था और फिर जब मैं 14 साल का था तब दोबारा गया। जब मैं दूसरी बार गया तो मुझे लगा कि वहाँ बिताई मेरी पहली गर्मियों की छुट्टी पूरी तरह बेकार चली गई थी क्योंकि तब तक मेरा कोई वजूद ही नहीं था।
I went to England when I was 13-years=old and then I went again when I was 14. When I went for the second time I felt like the first summer I was there it was a waste because I didn't exist yet.
I went to England when I was 13-years=old and then I went again when I was 14. When I went for the second time I felt like the first summer I was there it was a waste because I didn't exist yet.
जब मैं अभिनेताओं का ऑडिशन लेता हूँ, तो मैं कभी उनसे अभिनय नहीं करवाता। मैं एक लंबा सिम्फनी चुनता हूँ, फिर उन्हें बैठने को कहता हूँ और उनके लिए वह सिम्फनी बजाता हूँ। फिर मैं बैठकर उन्हें देखता हूँ। मैं हमेशा ऐसा संगीत चुनता हूँ जिसमें उतार-चढ़ाव हों, बहुत नाटकीय हिस्से हों, बहुत शांत हिस्से हों और बेहद संवेदनशील हिस्से हों ताकि वह अलग-अलग भावनाएँ पैदा कर सके।
When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.
When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.
यह बात थोड़ी अजीब लग सकती है, खासकर अमेरिका में जहाँ "प्यार" शब्द का बहुत अतिरेक हो गया है, लेकिन एक तरह से आपको कैमरे के सामने मौजूद लोगों से प्यार करना ही होगा। कैमरे के पीछे जो है और जो दूसरी तरफ हैं, उनके बीच भरोसा होना चाहिए, ताकि वे सहज महसूस कर सकें। उन्हें यह महसूस होना चाहिए कि वे सुरक्षित हैं, और इस तरह उन्हें सिर्फ इसलिए नाटक नहीं करना पड़ता क्योंकि वे डरे हुए हैं।
This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.
This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.
डॉक्यूमेंट्री (वृत्तचित्र) बनाने से पहले मैंने फिक्शन (काल्पनिक फिल्मों) में काफी काम किया था, लेकिन जब मैं लगभग 32 या 33 साल का था, तो अचानक मेरा फिक्शन की उस दुनिया से दिल भर गया, जो पूरी तरह से पैसे के इर्द-गिर्द घूमती है।
I had worked in fiction a lot before I started making documentaries, but when I was around 32 or 33-years-old I suddenly got so fed up with the world of fiction, which is so money-centered.
I had worked in fiction a lot before I started making documentaries, but when I was around 32 or 33-years-old I suddenly got so fed up with the world of fiction, which is so money-centered.
जब मैं कोई डॉक्यूमेंट्री बनाता हूँ तो बहुत कम शूटिंग करता हूँ लेकिन लंबे समय तक कैमरे के साथ वहीं रहता हूँ। मैं लेंस से लंबे समय तक लोगों को देखता हूँ और जब मुझे कुछ दिलचस्प दिखता है तब मैं शूट करता हूँ। मुझे लगता है कि मैं इन सब चीजों के प्रति बहुत संवेदनशील हो गया हूँ।
When I make a documentary I shoot very little but I hang around with my camera for a long time. I look at the people for a long time through the loop and then when I see something interested then I shoot. I think that I have become very sensitive to these things.
When I make a documentary I shoot very little but I hang around with my camera for a long time. I look at the people for a long time through the loop and then when I see something interested then I shoot. I think that I have become very sensitive to these things.
हम डॉक्यूमेंट्री और फिक्शन के बीच के फर्क को बहुत बढ़ा-चढ़ाकर देखते हैं। मुझे लगता है कि एक स्तर पर फिक्शन फिल्म भी अभिनेताओं पर बनी एक डॉक्यूमेंट्री ही होती है। आप अपने जीवन के इतिहास को, जो आपके चेहरे पर लिखा होता है, मिटा नहीं सकते, जब तक कि आप फेसलिफ्ट न करवा लें।
We exaggerate the difference between documentary and fiction. I think that on some level a fiction film is also a documentary on the actors. You can't wash away your life's history, which is written on your face, unless you get a facelift.
We exaggerate the difference between documentary and fiction. I think that on some level a fiction film is also a documentary on the actors. You can't wash away your life's history, which is written on your face, unless you get a facelift.
यदि एक निर्देशक के तौर पर आप अपना समय क्रू के साथ लाइट और तकनीक की बातें करने में बिताते हैं, तो अभिनेताओं के लिए अकेला छोड़ दिया जाना डरावना होता है। किसी को तो उन्हें इस तकनीकी दल-दल से सुरक्षित रखना होगा।
If you fill your time as a director talking about lights and technique with the crew then it's frightening for the actors to be left alone. Somebody has to keep them safe from the mess that is the machinery.
If you fill your time as a director talking about lights and technique with the crew then it's frightening for the actors to be left alone. Somebody has to keep them safe from the mess that is the machinery.
अपनी सभी डॉक्यूमेंट्रीज़ में मैंने सारा कैमरा वर्क खुद किया, लेकिन फिक्शन में मैं इसे खुद नहीं करना चाहता था। मुझे लगता है कि फिल्म निर्माण की मशीनरी इतनी भारी और मांग वाली होती है कि आप अभिनेताओं को लंबे समय तक अकेला छोड़ देंगे।
In all my documentaries I did all the camera work, but in fiction I didn't want to do it myself. I think the machinery is so heavy and demanding that you would leave the actors alone for a long time.
In all my documentaries I did all the camera work, but in fiction I didn't want to do it myself. I think the machinery is so heavy and demanding that you would leave the actors alone for a long time.
छायांकन (सिनेमैटोग्राफी) ज़ाहिर है मेरे लिए बेहद महत्वपूर्ण था क्योंकि मैंने एक सिनेमैटोग्राफर के रूप में ही अपनी पढ़ाई पूरी की थी।
The cinematography was of course incredibly important to me because I graduated as a cinematographer.
The cinematography was of course incredibly important to me because I graduated as a cinematographer.
यदि आप किसी बड़े महाकाव्य जैसे उपन्यास को लें और उस पर फिल्म बनाएँ, तो संपादन कक्ष (एक्टिंग रूम) में पहुँचकर आपको एहसास होगा कि उसमें 20 लाख क्लाइमेक्स हैं, जो पूरे 90 या 100 मिनट को भर देते हैं। तब आपको महसूस होता है कि आप उन्हें काट नहीं सकते क्योंकि यदि कोई मर रहा है और आप उस हिस्से को काट दें तो ऐसा लगेगा कि वह अचानक फिल्म से गायब हो गया है।
If you take a big epic novel and you shoot it, when you get to the editing room you notice that it has 2 million climaxes, which fill the whole 90 or 100 minutes. Then you realize you can't cut them out because if somebody is dying and you cut that out it seems like they just disappear from the film.
If you take a big epic novel and you shoot it, when you get to the editing room you notice that it has 2 million climaxes, which fill the whole 90 or 100 minutes. Then you realize you can't cut them out because if somebody is dying and you cut that out it seems like they just disappear from the film.
मैं 17 साल की उम्र में फिल्म स्कूल गया था, और ज़ाहिर है कि जब आप बहुत छोटे होते हैं तो आपको लगता है कि दुनिया में फिल्मों के अलावा और कुछ है ही नहीं। एक समय के बाद मुझे कुछ और देखने की भूख लगने लगी। पाँच साल तक मैंने कोई फिल्म नहीं बनाई, मैं दुनिया भर में घूम रहा था, अखबारों के लिए लिख रहा था, थिएटर में काम कर रहा था, opera में काम कर रहा था, मुझे लगा कि मैं कभी फिल्मों में वापस नहीं लौटूँगा।
I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.
I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.
चूँकि मेरी फिल्में उस पल जन्म लेती हैं जब वे किसी दूसरे व्यक्ति के मन और स्मृतियों में उतरती हैं, इसलिए यहाँ कोई गलतफहमी की गुंजाइश नहीं होती। मैं पूरी तरह से इस बात को स्वीकार करता हूँ कि अलग-अलग लोगों ने एक अलग फिल्म देखी है।
As my films are born at the moment when they are reflected into another person's mind and memories, there are no misconceptions. I totally accept that different people have seen a different film.
As my films are born at the moment when they are reflected into another person's mind and memories, there are no misconceptions. I totally accept that different people have seen a different film.